Chimpomatic

James Yorkston

Year Of The Leopard

2006 is shaping up to be another fine year for music with releases from old veterans like Yo La Tengo and Grandaddy more than fulfilling expectations. But it definitely lacks a few things that we all need. After their stunning tour and appetising glimpses of new songs we need another Radiohead album and it's been so long since A Ghost Is Born that I think everyone would agree that we certainly need a new Wilco album but as Mr Yorkson shuffles his feet up to the plate to make his mark on this year it soon becomes clear that we don't need Year Of The Leopard. I don't come to this opinion lightly as I am a huge fan of Yorkston's honest and strangely uplifting style of folk but this new offering seems to lack all those attributes and is dull to say the least. A great deal of (dish) water has trickled under the bridge in the world of nu-folk since Yorkston's beautiful second album Just Beyond The River, so to emerge after 2 years with this is just not good enough.

We were dazzled by his presence at the Homefires festival and it was clear that he was a trailblazer for the impressively low key yet fiercely progressive Fence Collective, but since then his subordinates have lapped him in creativity and even though he pumps out new music all the time I could certainly handle another King Creosote album.

Yorkston has eased off on the lush orchestration that layered his previous albums opting instead for Homefires organiser Adem's stripped down style of drowsy folk and that's where the problem lies. Where Adem's voice has the intimate closeness that commands your attention, Yorkston just seems too tired or bored to command anything and before all you blinkered fans out there argue that Yorkston's understated and low-key style is the what makes his music work I would have to refer you to the latest Jason Molina offering or fellow Domino artist Bonnie "Prince" Billy as examples of just how captivating this style of music can be.

Each song follows the same structure with delicate finger picking ushering in hushed, whispering vocals until a feint swell of violins brings the whole thing to an easy close only to begin again and again. The Athletes seem to have all but disappeared and the only song that strives to break from this structure is the aptly titled Woozy With Cider, where Yorkston uses ill considered spoken word to tell his crazy tales of drunken debauchery.

Year Of The Leopard just proves that in a highly competitive market, feet shuffling simply won't do and illustrates perfectly the phrase 'If you snooze, you lose.'

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7th Oct 2006 - 3 comments - Add Comment - Tweet

The Black Keys

Le Trabendo, Paris

October 5th 2006

In a postmodern world where everyone sounds like someone else, The Black Keys are pretty easy to pigeonhole. Sitting somewhere between The White Stripes and Wolfmother, they take heavy blues and run with it. And thats about it. "I woke up this morning" nah, nah, nah, "Tied up my shoes" nah, nah, nah. They don't have the inventiveness of The White Stripes to make only being a two piece their selling point, and they don't have the punishing power and speed change fun of Wolfmother - preferring the slower heavier, sound.

None the less, it was an entertaining show. Although there is little variation between their songs, and there was little stage chat or interruption, that one hour long smoky-blues-jam that they played was a good one. They obviously love what they are doing, and they do it well. There was power and passion and the venue was electric with the enthusiastic, well behaved, civilized Parisian crowd. Hats off to opening band and Black Mountain side project Blood Meridian too. They warmed things up nicely with their own band of bluesy rock ...and they spoke a bit of French.

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6th Oct 2006 - 4 comments - Add Comment - Tweet

Robin Hood

Episode One

Aiming to fill that Doctor Who teatime gap on Saturday evenings comes the latest incarnation of Robin Hood. More Robin Hoodie than man in tights, leaving out all that mystical "ooh it's the power of the trees" stuff that the Michael "the hooded one" Praed 80s version and swapping it for what passes for rollicking japes in 2006.

Undemanding fun mostly, bit slow, and still like the cartoon one the best, but could pick up. Keith Allen makes an OK Sheriff of Nottingham, camping it up while chewing down on large hunks of meat as Robin gathers his boyband of merry men and starts foiling his unreasonable tax demands etc. Marian's fiesty, everyone else seems to be happy to crack medieval jokes and run around in the forest. All looks like quite a laugh hanging out there; not sure what they're going to do when winter comes…

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4th Oct 2006 - 3 comments - Add Comment - Tweet

Yo La Tengo

I Am Not Afraid Of You And I Will Beat Your Ass

How do you describe Yo La Tengo's music? At times jazzy, tender, melodic, hypnotic instrumentals, and full out rock and roll songs. In their new album, they have returned to what they do best; toying with musical forms to create a messy, but melodic album. The album opens with an epic sprawling 11 minute track Pass The Hatchet, I Think I'm Goodkind.

Stylistically the album is all over the place and some might say incohesive - but don't let that put you off.

Ira shows his vast talents here, from crooning on Mr Tough or Sometimes I Don't Get You, to going full out rock and rolling Watch Out For Me Ronnie or The Room Got Heavy - with Georgia's delicious voice helping to soften the edges. They have so much heart in the centre of their songs, beautiful and delicate melodies that help to anchor what at times can veer into crazy directions.

I've given up trying to pin them down with a definition. Embrace them with both arms, you won't be disappointed. They are clearly not afraid of you... and you shouldn't be afraid of them.

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4th Oct 2006 - 3 comments - Add Comment - Tweet

Band Of Horses

Everything All The Time

Sub Pop

First up, comparisons with My Morning Jacket are inevitable. On the first few listens, I had to check that Jim James himself wasn't providing the vocals on a couple of tracks. With that in mind, the chase cut to as it were, let's base the review around that knowledge. Let's suppose that MMJ had a younger brother, who hung around the practice sessions and was witness to their particular brand of genius. He's maybe thinking to himself, yeah that's pretty good - but those extended, distorted solos are a bit distracting, at times they get in the way of a nice, clean, imaginative pop song. I like the reverb on the vocals, I'll have that (It's possible that a couple of tracks were actually lifted straight from the outtakes of a MMJ session - Part One and I Go To The Barn Because I Like The could well be from At Dawn). The result is a charming, dreamy album with enough emotional weight to demand full attention. Comparable to MMJ and completely comfortable with that comparison.

Apologies, if you've never heard of My Morning Jacket. If this is the case, I can only presume it is your first visit to Chimpomatic - welcome.

Update: With the Chimp team seemingly in approval, it looks like this is going to stay the distance. I'm prepared to admit it when i'm wrong: This is not just a good album, it looks like it's going to be a classic.

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2nd Oct 2006 - 4 comments - Add Comment - Tweet

A History Of Violence

(dir. David Cronenberg)

Smalltown family man and all-round good guy Tom Stall (Viggo Mortensen) has a hidden past. It is so well hidden that not even his wife and teenage son know about it. So well hidden in fact, that not even Tom himself is sure whether it really happened. However, gangster Carl Fogarty (Ed Harris) is absolutely sure of the facts, one being that he now only has one eye, which is a pretty constant reminder. So when Carl and a couple of goons come to town, it's time for Tom to get out of the comfort zone and face up to what he did or possibly didn't do.

At around 90 minutes, it's a good length for it's short story feel, striking a balance between tension and action. With it's name in the title, the violence, when it appears, is short, sharp and particularly brutal and the gradual unravelling of the family unit as the truth comes to the surface is nicely weighted.

Performances are good, although I haven't seen enough yet of Mortensen to know if he was asked to look a bit demented in this film or whether that's his stock face. William Hurt can lose several points for being a bit camp and just a bit too crap for the end-of-film bad guy.

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2nd Oct 2006 - 1 comments - Add Comment - Tweet

Stephen Malkmus

Kindling For The Master EP

Domino

4 remixes of Stephen Malkmus' latest single provide disco entertainment for mix tapes, but surprisingly it's Hot Chip who take the honors - with their Jan Hammer style re-working.

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2nd Oct 2006 - Add Comment - Tweet

The Broken Family Band

La Boite, Madrid

A good live show has to offer something more than simply loud renditions of familiar tunes. This could take the form of plenty of long haired extended jams, a la MMJ, or perhaps some audience participation and a nice line in dark humour. The Broken Family Band fall comfortably into the latter. Onstage just before midnight in this cosy Madrid venue (which turned into an incredibly camp disco afterwards) singer Steven Adams is a funny guy ('funny how? You know, the way he tells a story') as anyone familiar with their albums will no doubt already know. They played about an hour and a half of their particular brand of twisted country music (via Cambridge) taking in Banjo solos, Acapella singing and good solid rocking out along the way, as well as banter and jokes in-between songs (and the songs themselves) including some sort of explicit mobile message played over the mic. A highlight being Alone in the Makeout Room with part time banjo player and beer-getter Tom/Ben(?) filling in the role of the female, whilst Adams added some rather rude lyrics definitely not on the album. Great tunes, good lads. "It's a Hit" say the critics!

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1st Oct 2006 - Add Comment - Tweet

Charlotte Gainsbourg

5:55

From the uber-cool monotone cover photograph, to the A-list guest list (Jarvis Cocker, Air, the Divine Comedy's Neil Hannon, and Radiohead producer Nigel Godrich) and Ms. Gainsbourg's obvious pedigree; this record promises much yet only partially delivers.

As you would expect from such a stellar line up, much of the song writing and music is excellent. It is a crying shame that the weak link throughout is Gainsbourg herself – who seems a little lost and listless. Her half breathless whisper is thin and strains to hold the songs together, despite the obvious strength of some of them – 'Everything I Cannot See' in particular.

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29th Sep 2006 - 2 comments - Add Comment - Tweet

Lead Balloon

Episode One

Surprised by how much I enjoyed this new Jack Dee sitcom. Very much working on the Curb Your Enthusiasm model - grumpy stand-up comedian dealing the tedium of modern life - but it's hard to think of a UK comedian who can do grumpy as well. Got that verite feel too, no soundtrack, script is tight, he's constantly trying to get out of awkward situations with a patient wife slightly bemused by him etc etc. Doesn't quite hit the "you fucking fuck Larry" level yet, but it's promising stuff. Hoping it's going to be as good as BBC4's other excellent sitcom The Thick Of It.

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28th Sep 2006 - 9 comments - Add Comment - Tweet

Tokyo Police Club

A Lesson In Crime EP

When The Strokes unleashed their debut album on the world they set in motion a style that sent ripples through the then stagnant pond of the indie/rock world ...and until their recent record it looked like they themselves couldn't keep up with the legacy they so forcefully laid down. Even though their sound borrowed much from tried and tested sources, The Strokes brought with them a new freshness and a raw and immediate might that has given birth to many a new band. This Toronto quartet, Tokyo Police Club, are one of those following in these footsteps and although this is very obvious from listening to their debut EP it still makes for an entertaining 16 minutes.

Despite opening the record with the words "Operator, get me the president of the world, this is an emergency," A Lesson In Crime is a fine introduction to this fledgling band of hopefuls. Cheer It On sets the pace early with its riff heavy structure. The best moments however come when the band momentarily steer away from Strokes territory as in La Ferrassie and Citizens Of Tomorrow where the guitars step back and give the less raspy side of lead singer Dave Monk's voice space to shine. Here we see a hidden sensitivity in this voice that brings to mind Grandaddy, enhanced by the swathes of soft synthesiser and frequent references to robots.

There is a certain naivety about Tokyo Police Club - both in their Strokes-ish sound and some of the lyrics but A Lesson In Crime has glimmers of real hope and offers more than enough clues that this is a band that, given the space of a full length album, could produce something great.

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27th Sep 2006 - Add Comment - Tweet

Kings Of Leon

Day Old Belgian Blues

Recorded live at AB Box in Belgian (sic) on 11/04/04, this six-song limited edition EP showcases..... the fact that the Kings of Leon are trying to plug the gap between studio albums with this load of filler. This band were never prolific with their b-sides, and this live EP just makes that obvious. Uninspring versions of six songs - all which feature on the excellent studio releases - and not a sneaky rarity in site. Give this a miss and hold out for studio album number three.

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26th Sep 2006 - 6 comments - Add Comment - Tweet

My Morning Jacket

Astoria, London

After missing them in NYC, London (twice) and then Brighton it was a relief to see My Morning Jacket finally walk onstage at the Astoria. Following much of the same vibe as Okokonos they certainly did not disapoint. It Beats 4U was fantastic, Phone Went West, Run Thru, Magheeta and more. They tick all the boxes when it comes to the one album rule, pulling from a huge range of great tracks and turning every one into an extended rock-a-thon. When they finally played my favourite, The Bear, this gig sealed it's place in ossumness. - CSF (4.5 Stars)

After a few cancellations I was highly anticipating this gig. Starting superbly with a string of tracks from the latest album followed by all time classic One Big Holiday it was living up to all my hopes. The latest album (Z) is by far the most accessible with short tracks which quickly move on. Like the back catalogue though, the gig became more sprawling as time went on. Solos and track finales were extendedly played out as the band indulged in some great moments. Unfortunately at times there was a sense that this was getting to be a little too much for much of the audience. Certainly more for the hardcore but a good show all the same. - CJ (3 Stars)

MMJ surpassed all expectations at the Astoria on Friday as they raised the roof with an awe inspiring, riff heavy, rock marathon. Front man Jim James set the pace with an inexhaustible display of energy and enthusiasm, sometimes looking as if he resented his singing duties preferring to rock out with the rest of the boys gathered, worshipingly around the alter-like drum kit as each song was stretched to breaking point. High points were Gideon, One Big Holiday and Run Thru. - BC (4.5 Stars)

As a relative newbie convert to the mighty MMJ I probably wasn't as psyched up as the rest of team chimpomatic for this gig, but I came away on a real rock high, glad that CSF had managed to get me to get over my misgivings about their name and actually get round to listening to them. Wasn't prepared for the full-on epic jam quality, the duelling guitar action or indeed the sheer volume of hair-rocking... almost made me want to grow my hair back (in a kind of bizarro universe Crosby Stills Nash & Young move). Highlights for me were probably all the Z hits - It Beats 4 U, Gideon etc - but I was still pretty much with them by the end when it seemed like they were just really enjoying themselves. And frankly, if you were in such a great band, why wouldn't you want to just keep playing? (4 Stars for me, probably would have been higher if I'd got round to getting into them earlier…) C71

See photos of the gig here.

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26th Sep 2006 - 6 comments - Add Comment - Tweet

White Whale

WW1

Like the great ocean herself White Whale have managed to create an album of immeasurable depth that can at times rise to majestic swells of dazzling proportions, drowning you in its drama and carrying you off to far flung places but it can also be a bit wet. I use the ocean as metaphor here as this is the principle theme that punctuates most of WW1. Tales of sea faring voyages, grand ships and intrepid admirals are delivered in style by the breathy vocals of front man Matt Suggs. Drawing comparisons to label mates Spoon, Suggs writes music that is as grand as it is delicate and tells his tales with expertly crafted and slightly surreal lyrical compositions.

Nine Good Fingers opens with the line "Wont you lay your nine good fingers on me but keep that long one wrapped in gauze," and features lots of lyrics about finger finding melodies and toes tapping in time. And tapping is exactly what your toes will do through most of this album especially on O'William, O'Sarah where the anthemic chorus gives way to a long rhythmical interlude where a fantastically raw drumbeat creeps in as if being played in their garage and takes the song past the 7 minute mark. This leads on nicely to the album highlight of The Admiral, a sea faring story from days of old, told with epic grandeur and at times ferocious passion. It's an impeccably crafted gem that is unfortunately followed by the albums lowest point. I Love Lovely Chinese Gal is an ill considered low-fi ditty about East and West and is full of uncharacteristically obvious lyrics. But it's not worth dwelling on as normal proceedings are resumed straight away as the record finds its wave again and sails off into the glorious sunset with many a high point including We're Just Temporary Ma'am and Forgive The Forgiven.

WW1 is a wonderfully rich album combining live instruments with drumbeat and synth to great effect. It's great to see a debut album with its sights set so high and a band not afraid to attempt the epic and the grand. Their devotion is heard on the all-guns-blazing finale of One Prayer where Suggs exclaims, "It's our duty to go down with this ship." Hopefully that won't be necessary and if their maiden voyage is anything to go by this ship is destined for great things.

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26th Sep 2006 - Add Comment - Tweet

Susumu Yokota

Wonder Waltz

Susumu Yokota is undeniably a genius of modern music. Originating from Japan's minimal techno scene he has strived to create compositions of such complex depth and at the same time dazzling simplicity. His most praiseworthy work however has taken on a more abstract quality and still very much in his prime he has created three classic albums that defy comparison. Grinning Cat saw Yokota depict the Alice In Wonderland story through atmospheric soundscapes while The Boy And The Tree and his master work Sakura follow a similar path creating multi layered sounds out of sampled and live percussion and strange noises never before heard by the human ear. The result can barely be described as music but touches on a kind of ugly beauty that is absolutely captivating.

Wonder Waltz is his recent album on Lo Recordings and while it still has his trademark touch it is nowhere near as interesting. Listening to the three previously mentioned records can be a frustrating experience as they never quite give you what you think you want and quite often what you think you want is some sort of beat or rhythm to emerge out of these soundscapes to bring some form to the abstract. This album proves that you shouldn't trust those form searching instincts as he gives you exactly what you have craved for years and it is disappointing. There is too much form here and the result is a little ordinary. When I say ordinary I mean by Yokota's standards, as this is far better than most other down tempo music trickling out of the tired 'chill out' scene.

There are however glimmers of Yokota's genius throughout the album, the finest moment being Pegasus 150 with its eastern horns and vocal harmonies floating over a beat sampled entirely from galloping horses hooves. Another highlight comes with Robed Heart, a beautiful violin piece accompanied by a delicate percussion beat and vocals sung in English which sees yet another departure for Yokota.

So on the whole this is a solid album with many genuinely rewarding moments but seen in the context of his back catalogue Yokota proves that it's not always best to get what you want.

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26th Sep 2006 - Add Comment - Tweet

The Bronx

The Bronx (II)

You might have missed The Bronx (I), but 'they're back' with this self-titled second album. This isn't Led Zeppelin II however, or even Tindersticks II. The Bronx are a strange mix, falling between Guns 'n Roses (Gilby Clarke produced their early recordings) and the Rollins Band (or even Annihilate This Week era Black Flag), but strangely seeming almost like Pavement - certainly in terms of their excellent video History Strangler's. That's a lot of links, commas and brackets, but this is a band that's hard to define.

The credibility supplied by not actually looking like Gwar gave a me a reason to persevere, and I like this band a lot. They know how to rock and they know how to play it loud. Senor Hombre sets the scene with some mystical hokus pokus before we're off into the meat of the album. Shitty Future is an awesome rolling track, and History's Strangler's is equal to the task. Things mellow out a bit with Dirty Leaves, which has a much more bluesy sound - letting you see some of the influences that the band must have. It dips a bit after that with some questionable morality tales (Rape Zombie, Three Dead Sisters) that must have some point, but towards the the end it's back to firing on all cylinders and you get more of what this band is good at - playing loud in your car or at home while your girlfriend (or parents) are out.

Turn it up to 11.

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22nd Sep 2006 - Add Comment - Tweet

Wooden Wand And The Sky High Band

Second Attention

New York avant-gardist Jason Toth re-emerges after last years solo album and his many outings with The Vanishing Voice to bring us this quality psych-folk classic. Second Attention is packed full of religious references which are delivered with Toth's ironic, country drawl and the result is refreshingly hard to label. Compared to his earlier work Second Attention is a relatively straightforward, song-orientated affair that channels healthy doses of Dylan and the odd dab of Hendrix.

The fantastically gospel Portrait In The Clouds starts off as a sing along folk ditty about religious redemption repeating the chorus "God's Portrait in the clouds, I am bloodthirsty no more." Then along with the strumming acoustic guitar comes an almost question and answer formation between a gloriously bluesy electric guitar and organ. This is a pattern employed on the most interesting moments on this record. The more conventional folk numbers like Crucifixion Pt. II and Dead Sue are where the early Dylan comparisons appear, with their rambling, repetitive story telling formation but the best moments are found in songs like The Bleeder, Sweet Xiao Li and Mother Midnight where The Sky High Band really shine. On the whole the band takes a back seat allowing Toth's vocals to take centre stage but on the occasions when the grimy electric guitar creeps in the song is transported to new territories. This is what ultimately makes this record a success; it's ability to surprise you. Even though by his standards Toth has created a relatively conventional piece of work it is clear to see that Second Attention has been born out of a colourful history of music appreciation.

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21st Sep 2006 - Add Comment - Tweet

My Morning Jacket

Okonokos

Fewer and fewer bands seem to put out a decent live album these days, so it's a refreshing change to see My Morning Jacket releasing a live CD (and upcoming DVD) "Okonokos". Inspired by Neil Young's Marshall-speakers-and-Jawas efforts with Rust Never Sleeps, the band put on two shows at the Fillmore in San Francisco, inviting the crowd to come in fancy dress. Fancy lighting and a load of trees on stage set the scene and the band proceeded to rip through two nights of extended jams, cut through with Jim James amazing voice.

The album is certainly not just the Jim James show, turning in relatively few of the spine-tingling moments found at his solo shows, or on the Acoustic Cistouca EP. Instead it's very much a full band affair, swapping the delicate drum machine-style of It Beats 4 U for a beefed up sound that turns the song in the opposite direction and re-invents it as a heavy love song.

Crowd favourite One Big Holiday is a highlight, but there is certainly no shortage - The Way That He Sings, Golden, Anytime - all fantastic. This is a band that has no problem producing new material, and they showcase a broad range here, including some less well known tracks like O Is The One That Is Real. The band specialise in re-working and expanding old favourites and X-Mas Curtain and the finale of Magheeta are supurb.

If you're looking to convert a potential fan then this probably isn't the right album to use. Start them off with Z. If you're a fan already then you won't need much convincing, and you won't be dissapointed.

We're off to see them at the Astoria tomorrow. Review on Monday.

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21st Sep 2006 - 2 comments - Add Comment - Tweet

The Black Dahlia

(dir. Brian De Palma)

Brian De Palma's adaptation of James Elroy's 1987 novel was a hotly anticipated affair. The story of the infamous and brutal murder of 22 year old aspiring actress, Elizabeth Short, was dubbed 'unfilmable' in 1947 - and remains so after this appalling waste of time.

The film follows two tough cops on the hunt for the killer responsible for a crime that rocked Hollywood at the time, mainly due to the gruesome state the victim was found in. Cut in half, disembowelled and sliced from the mouth to both ears, Short's murder attracted a media frenzy. In response, the police department put their most celebrated cops on the case. Nicknamed Mr. Fire and Mr. Ice after their successful careers as boxers, these two soon find the public spotlight brings with it unbearable pressure from every angle to see this case through to a conviction. Lee Blanchard (Aaron Eckhart), the gung-ho half of the duo, becomes strangely consumed by the case - much to the worry of his troubled wife … played here by Scarlett Johansson, His partner, Dwight "Bucky" Bleichert (Josh Harnett), assumes the role of the younger, naive cop who isn't fazed by the celebrity status, but just wants to see his idealistic view of justice done.

I would be here all day if I tried to divulge how the plot progresses from here and to be honest I'm not too sure myself. The story is packed full of subplot upon subplot to the point of utter confusion. Elroy's previous screen adaptation L.A. Confidential is just as complicated, but it is written and acted with such skill that you really engage with the characters and try hard to follow them through the complex web of double-crosses and deceit. The opposite is the case here - as the acting is amateur, with each performance rarely rising above a stereotype depiction of 40's film noir cop movies. To be honest I never expected much from Hartnett but I had imagined that the presence of Oscar Winner Hilary Swank would inject a touch of quality to the proceedings, but unfortunately not. To describe Johansson's performance as wooden would be an insult to Pinocchio. The only exception here is Mia Krishner's mesmerising scenes as Betty Short, seen in flash backs and found screen tests. She is dazzlingly beautiful and her deeply innocent and desperately sad eyes give you a clue as to why so many real life detectives became obsessed with this case.

The film as a whole is visually stunning, but style is never a wise substitute for content and despite the dazzling aesthetics De Palma fails to convince his audience of the depth and seriousness of his characters or the period in which they exist. In 1982 Steve Martin did a far better job in Dead Men Don't Wear Plaid and that was a spoof, not to mention Bugsy Malone.

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21st Sep 2006 - 2 comments - Add Comment - Tweet